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The Company You Keep (2012)

 -  Drama | Thriller  -  26 April 2013 (USA)
6.4
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Ratings: 6.4/10 from 18,745 users   Metascore: 57/100
Reviews: 97 user | 214 critic | 35 from Metacritic.com

A former Weather Underground activist goes on the run from a journalist who has discovered his identity.

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(screenplay), (based on the novel by)
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Title: The Company You Keep (2012)

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Cast

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Donal Fitzgerald
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Isabel Grant (as Jacqueline Evancho)
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Storyline

After years in hiding, ex-Weather Underground militant, Nick Sloan aka Jim Grant, learns about his old compatriot's arrest for a bank robbery turned deadly in the 1970s, which he is wanted as an accomplice. This puts the ambitious young local reporter, Ben Shepard, on the scent of a story that exposes Nick as well. As such, Nick goes on the run while taking his daughter to safety. With that accomplished, Nick stays one step ahead of the FBI while pursuing a faint hope to clear his name. Meanwhile, Shepard digs deeper into the case himself as he discovers the true complexities of another times' determined ideals even as Nick faces their consequences with another. Written by Kenneth Chisholm (kchishol@rogers.com)

Plot Summary | Plot Synopsis

Taglines:

You can't escape the past

Genres:

Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for language | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

26 April 2013 (USA)  »

Also Known As:

The Company You Keep  »

Box Office

Opening Weekend:

$131,718 (USA) (5 April 2013)

Gross:

$5,132,442 (USA) (26 July 2013)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

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Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

As of 2013, the cast includes four actors (Robert Redford, Susan Sarandon, Chris Cooper and Julie Christie) who have won Academy Awards and five others (Anna Kendrick, Richard Jenkins, Nick Nolte, Terrence Howard and Stanley Tucci) who have been nominated for Academy Awards. See more »

Goofs

In a phone conversation Ben Shepard keeps his mobile phone upside down. See more »

Quotes

Ben Shepard: I'm not trying to offend you, Mr. Grant.
Jim Grant: Well, I'm not offended, you're pretty much exactly what I expected.
See more »

Connections

Featured in Maltin on Movies: Trance (2013) See more »

Soundtracks

Islands
Performed by Huddle
Written by Mark Satterthwaite (SOCAN) Clay Jones (SOCAN)
Published by Third Side Music Inc.
Courtesy of Huddle 2011
See more »

Frequently Asked Questions

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User Reviews

 
Provocative throwback to another era
14 April 2013 | by (United States) – See all my reviews

The Company You Keep has a startlingly star-studded cast and I was surprised to see that most of them were in small, thankless roles. People like Sam Elliott, Nick Nolte, Chris Cooper and Stanley Tucci have a couple, three scenes at most and aren't given much of anything to sink their teeth into. What I think this suggests is an immense respect for Robert Redford - there are very few directors who could assemble actors of that caliber for roles that probably anyone could play. And that respect is merited - with Company, Redford proves once again that he is an exceptionally talented director who deserves to be taken more seriously than he is.

It begins with the abrupt arrest of Sharon Solarz (Susan Sarandon), an American terrorist who had been living in hiding for decades since she was connected to a robbery that resulted in the murder of a security guard. Her arrest sparks renewed interest in the case and as a reporter (Shia LaBeouf) starts to dig deeper, a lawyer and newly single father (Robert Redford) realizes he is about to be uncovered and flees, leaving his daughter to stay with his younger brother (Chris Cooper) while he searches for an unknown something.

The foundation of Company is a clever, taut screenplay reminiscent of classic 70's American thrillers. It shocks the audience with reveal after reveal, always bringing up more questions and arousing more suspicions, but does so without a hint of self-importance and gracefully avoids inflated tension. Redford's graceful direction brings the electric writing to life and creates a suitably foreboding atmosphere - it's gritty, but not too dark; fast-paced, but not so much that it sacrifices plot or character; emotional, but not saccharine. For such an outlandish plot, Redford makes it feel as real as it possibly could. Too many modern thrillers like this try to make every beat into a high emotion scene, or build around the twist so it's as dramatic as possibly. Company avoids that - there is a refreshing lack of forced grandeur, and in its wake we get a surprisingly intimate film filled with truly fascinating characters and provocative moral questions that the screenplay doesn't answer for us.

The cast, as expected, are uniformly excellent. If there is a weak link it's Shia LeBeouf, whose real-life smug vanity suits the character but can only carry him so far when he's up against acting titans. He seems amateurish in his one-on-one scenes with Redford and Sarandon even though neither of them give especially domineering performances. Redford is an appropriately sympathetic lead but the supporting actors steal the movie - Susan Sarandon sets the bar very high right from the off. In her two or three short scenes, she reveals everything about her secretive, stony character; her microexpressions tell all. Cooper, Nick Nolte, Sam Elliott and Richard Jenkins light up their segments with their presences alone, while Brendan Gleeson delivers a hauntingly conflicted portrayal.

Julie Christie, though, is the standout. If this has to be her last screen appearance, it's comforting to know that she went out with a loud bang, playing a character so unlike anything she's ever done before. Her Mimi is ferocious and spirited, but her steely conviction can't quite mask the naive little girl who never really grew up hiding underneath. She communicates a world of internal conflict with a simple raise of her eyebrows, a pang of regret merely by letting her mouth fall open; she's a master of her craft, fully realizing her character in maybe 15 minutes of screen time where most of her lines hit the same note.

If there's one problem with the movie, it's that it's too short. A significant plot point towards the end isn't given the time and attention it deserves, considering its weight and implications. It felt like a wasted opportunity for an amazing, thematically fathoms-deep ending. However, the ending as it is is satisfying and well-done nonetheless, and cleanly wraps up an expertly crafted breath of fresh air for the genre. If only it had come out 35 years ago where it would have been right at home and probably would have garnered a better reception.


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